#ask me about how he NEVER SAW THEM AGAIN

[polysyndetonaddictsupportgroup]

Just want to say: a, I admire very much that you've figured out a healthy way to work on your fics that allows you to have fun with it. And also b, am very excited to hear that you are getting there with pez! It has fully given me brain rot ever since I read it last year, there is just such a lack of content for the highly specific trope of using time travel as a device to explore extremely unhealthy levels of self loathing.

I just adore everything you're doing in it. Neither midoriya is anywhere approaching okay for any portion of the fic and I love rereading and mining into all the subtle characterization pointing to that. It's a bit like nhtycth in that some really goofy funny stuff is often hiding some really fucking worrying things, but the fact that characters DO do that stuff—that todoroki uses his teaspoon's worth of extremely stunted social skills to bludgeon his friend's door open and help him, that a rpf shipping war is an actual source of drama despite how goofy the sentiment seems on the surface, that about half of what jon says is deeply worrying and the other half is extremely funny and there's a lot of overlap between the two—really lifts the tension and brightens the universe. It's sort of similar to what you did with gerry, in that endless misery isn't nearly as painful as the ups and downs of a life that, when you step back and zoom out, has something deeply and horribly wrong with it.

(jon sort of reminds me of spider-man in that he uses human to deal with trauma and stress, except I don't think he at any point realizes how fucking funny he is. He's just there, in a home depot, gnashing his teeth because he's got so many bodies to dispose of and this cashier sure is taking her time.)

I really, really, really have had trouble finding fics that take everything midoriya has dealt with to task. It's a hell of a thing to live 14 years as a disabled minority, have it heavily shape your existence, and then one day you wake up and you realize you're...not that, or at least, nobody will ever acknowledge you as that again. You've lost all claim to it. Those experiences that shaped who you are? Dust in the wind. 14 years of pain and life might as well be buried in the ground for all the good they do you. Nobody's going to cut you any slack or quarter, you've gotta simply work harder, be better. And now when you do that you get the results you wanted, so that's fine, then. That's good. There was something wrong with the you before, and there's something right with the you now, and if the transition is a little rough, well that doesn't matter, you're the same as everyone else now, so it's your own job to fill in whatever gaps you need to.

I really can't get over how mentally fucked it must be for midoriya to run into quirkless people, run across quirkless issues, and be silently caught between, incapable of speaking his mind and too scared to do so anyway around those he can trust.

Also I should mention, I'm just very excited for bakugou to get back from the gym. He's been there like a year I hope he's getting a good workout in.

Me realizing that it’s been a year since pez dispenser debris:

I feel like there’s just this very specific type of grief that Izuku has to grapple with in the span of pez dispenser debris that I’m just obsessed with. He’s sort of silently mourning who he could have been, when 1) he has to present like there’s nothing lost to maintain his secret and 2) the entire world is constantly inundating him with the message that there was nothing lost.

Like. I don’t want to get too deep into it because it risks spoiling things and I do have major plans to continue it (I’ve loved this story for so many years before I ever even hit publish), but the emotion that Izuku’s feeling right now is so much more complex than “I hate who I used to be and want him to stop existing” or “I just want to keep my secrets.” And I think the way he interacts with Mirio is the biggest evidence of that.

Izuku’s placed himself at the very center of the Quirklessness debate with his support of Mirio. He fights for Quirkless heroes, very publicly, to the point where he’s not even graduated yet but considered to be one of the most prominent voices on the matter. If you took a poll of Quirkless people as to which hero would be most supportive of them pursing their own career in heroics, Izuku would be right at the top of the list. When it comes to Quirklessness itself, he’s nothing but supportive.

But he didn’t tell Mirio the truth of his own Quirklessness.

Out of everyone, Mirio’s the one everyone expects to know, despite him being a relatively newer relationship compared to someone like Iida or Uraraka or Todoroki. And I tried to imply that he’s sort of the one who knows the most about Izuku out of everyone save All Might.

Like, we’ll get into how much exactly Mirio knows soon, so I won’t divulge what, if anything, Izuku has told him. But we know that Mirio knows, weirdly enough, that Izuku is deeply fucking haunted. He knows that boy has many violent ghosts in his bones. He finds it hilarious and will tell their realtor about it. Izuku told him about the discontent spirits who died in a violent passion and live on inside of him before he told him about his Quirklessness.

And I just feel like one of those things is a little bit easier to discuss than the other.

Izuku has decided to keep his own Quirklessness quiet in a way that surpasses secrecy about One for All. If it was just about OfA, he could tell people he didn’t get his quirk until the entrance exam, and it wouldn’t even be a lie. He’s purposefully obscuring his own past as Quirkless even as he takes a forefront of the Quirkless hero debate with his open support of Mirio.

And the fact that he’s at the forefront of this debate in and of itself requires a difficult dichotomy. He is the world’s most vocal proponent for the first Quirkless hero. He is a known figure in the Quirkless community now.

He isn’t considered one of them anymore. He’s an outsider coming in.

It must be such a strange, odd sort of grief to come to the people you were home amongst for most of your life and be greeted as a stranger. To return home, and to be welcomed in for the first time, and to not even be able to tell people that you’ve lived here all your life and don’t need a tour.

It’s a sort of death of self, I think. And I think Izuku never expected to have to grapple with his own ghost.

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[sysig]

Special Counseling (Patreon)

[girlcrushau]

[sidesteppostinghours]

4 + 5 + 8 + 40 + 34 and I) G) F) for Cyrus Becker my beloved 🧡

afternoon idle!! oh my god questions galore *cracks knuckles* cyrus get your ass over here youre up

4. How easy is it to earn their trust?

Very difficult, and at the same time easier than youd think. he definitely doesnt entertain everybody, but hes not unreasonable. hell hear you out if you give him enough reason to (or if he thinks its beneficial to get to know you. do you see why he gets attached to people hes supposed to be manipulating so often). ortega and mortum required him to establish a relationship, which is how they got so close to eachother so quickly. herald got by because cyrus thought hed be a useful contact in the rangers. chen couldve earned his trust a long time ago, they had to work with eachother a lot back when he still ran with the rangers, but chen squandered it on his suspicions and its been too long for cyrus to have any interest in patching up their relationship. argent has largely flown under his radar, she hasnt piqued his interest more than the passing curiosity of why she wanted the regenerator.

5. How easy is it to earn their mistrust?

the default is mistrust. sorry yall, hes not taking any more chances than necessary. hes a telepath, he knows all too well what secrets other people hide, and hes not interested in giving people a chance to prove his suspicions wrong. but after hes grown to trust somebody? its... embarrassing how difficult it is to lose it. even though his trust is much shakier nowadays, you still need to have fucked up Majorly to get him back to mistrusting you. if you somehow manage to do that,,, uhhhh. what do you want on your tombstone? (ig its technically its possible to not die and even earn that trust back??? ortega managed, but thats ortega and hes statistically more likely to kill you or ruin your life. depends on how badly you fucked up. id say theres a good 5% chance youll survive the experience without the need for intense psychotherapy)

8. What were they told to stop/start doing most often as a child

listen. follow orders. be exactly who we need you to be. cyrus was a deeply rebellious regene, but he wasnt stupid about it. hed go against the mission in secret, and just enough that nobody wouldve been able to trace any problems back to him. that doesnt mean he was never caught, but he was too competent of a regene to be scrapped, which saved him multiple times before. those few times did cause handlers to keep a closer eye on him though, just in case. handlers would usually keep a harder grip on cyrus, hold him to stricter standards. it contributed a lot to his own self talk. SPEAKING OF WHICH:

40. How sensitive are they to their own flaws?

you must imagine me holding him and looking lovingly into his eyes while i dump a gallon of insecurity and perfectionism on him. hes a proud man, he thinks hes better than what other people are capable of, but that arguably makes things worse when he does make a mistake. he of all people shouldnt be like this. add the puppetmaster scar on him and its a hefty load of 'i need to make sure every single step of my plan goes exactly right Or Else." the worst thing about him is that a lot of the petty flaws he thinks apply to him arent correct. AND HE CANT EVEN NAME HIS ACTUAL FLAWS. cyrus you are so smart and walking around with zero self awareness, its the best. please consider stepping into acid.

34. How hard is it for them to shake a sense of guilt? 

hohohohoho. well. the first step is to get him to feel guilty in the first place. traditionally immoral actions arent going to get to him, obviously. the thing that springs up guilt for him most often is themmys death. he has. a Lot of survivors guilt about that. especially because hes convinced himself he couldve done something and *gestures to the ask above*. guilt will haunt him for life if it doesnt get resolved in a healthy way, but hes gotten good at burying his emotions a long time ago. even when he feels like that, he reserves a specific time to think about it, otherwise itll impede on his plans in the long run. that designated time is. usually when hes supposed to be sleeping. his sleep schedule is just a little bit messed.

I) Do you prefer to keep them in their canon universe?

oh dude i Love putting cyrus in aus. its so fun to poke him with a stick and see what happens. the first one i put him in was a band au, it helped me figure out how he would interact with herald. basically cyrus was a masked guitarist (for backstory reasons) for a band daniel happened to be a fan of, except the two of them managed to meet at just regular old work, with cyrus not realizing daniel was a fan and daniel not realizing cyrus was from one of his favourite bands. it led to fun, mlb-esque shenanigans between the two lmfao. the second one i put him in was the becker siblings au, which i still have thoughts and emotionsTM about. that au let me indulge in the 'cyrus is an older sibling' headcanon and i will forever be in debt to it for the amount of protective cyrus i got. third and current au im obsessing over is a 'cyrus survives hb' scenario, where ortega managed to stop him before he jumped out the window. i am getting! so much ortega x cyrus content out of that au! and so much survivors guilt cyrus. cyrus 'using' ortega to forget about heartbreak my beloveddddd. he also says 'i love you' to ortega in this au and canon ortega is SO jealous. also x2, hes an alcohol vice step in this au. heartbreak hit hard and the tequila hits different.

aaaand i still like his canon version better. its just so very much him. out of every step ive got, hes the one i get to stay closest to how i envision based on the choices the game offers. plus he caught me completely by surprise suckerpunching me with an obsession over him and i cant Not respect that.

G) What trait of theirs bothers you the most?

not sure whether this means on a character creation level or as a person, but ill answer for 'as a person' because im overall pretty satisfied with how he turned out! but like. god what is there to not be bothered about. my manipulative little shit of a son. ig the trait that frustrates me the most is his self destructive tendencies. like. Sir. are you at all aware of the fact that people care for you and want you safe? and that you can respond to that concern with something other than "i can use this", "sucks to be them", or, "no theyre not"? sir. sir answer the question. hes so empathetic and also literally a telepath but somehow cant compute genuine concern at him. as frustrating as it is though, i cannot deny that it is deeply funny to watch him fumble so badly.

F) What do you feel when you think of your OC (pride, excitement, frustration, etc)?

normal. the ones where people look at me and think "wow, that is a person who is having (a) regular thought(s) about their character! very cool!" you will never see a person who is more normal about their guy than i am (i am grabbing him by the teeth and shaking him like a dog with a very strong kill instinct).

truly though, thinking of him gets me buzzing. hes like a puzzle, i keep breaking him apart and putting him back together again to see how everything works. i have this thing where ill often think about showing character analysis to the characters themeselves, just to see how they would react, and i undeniably do this the most with cyrus. i want to explain step by step (hah) why he is the way that he is now, like the whole timeline is plotted inside my head and its so!!!!! i am!!!!! chewing on him!!!!!

questions from here!

[ziracona]

I know I say this every time I read my own work, but Speak for the Dead really is the best chapter in ILM.

“Well, you know for the first time in a long time this actually feels like fall?”

Jane Romero was smiling at him, sitting propped up against a tree in what had sort of become her usual ‘therapy’ corner in the past almost two weeks. And she was right, it did feel like fall. The air wasn’t as sharply cold as normal, and honestly ‘sharply’ cold was a nice break in and of itself when it happened—usually the weather here was somehow just cold—cold with no adjectives attached. But today it was nicer. It was the kind of waiting fall cold that came when it wasn’t biting outside yet, and it was almost pleasant. A promise of a change in the seasons. Tapp wondered why.

The trees hadn’t started to change color with it, or fall in piles, and as far as he’d gathered there weren’t seasons in here. Everything looked the same. Tall, thick woods, undergrowth and moss and rocks and fallen logs, a slight breeze on and off. Dark sky overhead, full moon, at this point long since throwing off everyone’s idea of what day and night were supposed to mean. All the usual. Except, somehow, the kind of cold in the weather. Who knew, maybe nothing had changed. Maybe they had just started to feel better.

LIKE. Those opening lines mean nothing but environmental flavor when you read them. But they’re a lead in for the thesis of the entire chapter.

“Well, you know for the first time in a long time this actually feels like fall?” - A promise of a change in the seasons. - Who knew, maybe nothing had changed. Maybe they had just started to feel better.

Like that’s it. Speak for the Dead is about a lot of things, but at its heart it’s about healing. It’s about forgiveness and healing, that exists between the living and the dead. It’s about how you can only speak for them, by speaking for them. Not how you want to punish yourself or live for them, but by how you know they would forgive you, or would ask you to live. Very little other than exchanges of information happen, but so much happens at the same time. All of it significant. It’s hope. It’s about how Tapp (and Meg) have spent every day here fighting in their own way to cope with the agony and failure of their lives, and the loss of people they couldn’t save, and have only dug their wounds deeper. About love. About nothing stoping the lambs from screaming except accepting that they want to let you go.

[maddy-ferguson]

those who pick apart every flaw in the wheeler family dynamic to construe some kind of familial abuse storyline for mike lowkey remind me of steve stans who take the multiple instances of steve freaking about his dad ‘what will my dad think/my dad’s gonna kill me’ and the harringtons’ alluded to absent hands off parenting and construct steve a familial abuse backstory. If they wanted mike to have an abuse story they would have given him one. max and the byers are abused children, max by her brother and will/jonathan by lonnie. we also see the duffers write downright flawed parents, max’s mom coping from divorce and work woes with alcohol and not being present to her daughter’s growing depression, hopper suffering from his own fear of loss and lashing out against a child that obviously was gonna act out from being cooped up for a year. if the wheelers were supposed to be anything other than emotionally stunted, conservative parents that sometimes try and sometimes fall short they would be that instead. like max’s mom, like hopper, they contain parenting flaws. you’d think karen and ted were monsters for not always being the perfect support system for a child they cannot understand what’s going on with, supernaturally or otherwise, by the popular opinion of speaking of them here is

there's one key difference between people who do that with mike's family and people who do that with steve's: we're actually supposed to care about mike's family and his relationship with them. the wheelers are one of two families we meet in season one. we meet them first. mike is elliott in E.T and steve is...elliot's older sister's reformed boyfriend (elliott doesn't have an older sister). we're not supposed to care about his family. do the details we get matter? sure, it...explains why steve works at scoops ahoy i guess. you could find ways in which it informs his relationship with nancy i'm sure but it's not that important in the grand scheme of things because steve himself isn't.

what's annoying about people stretching what we see of mike's family and pretending that it's what's happening though is, well, the fact that they pretend it's what's happening and that they'll act like it's in the show and say you have no media literacy if you disagree. i think it's a thing in this fandom especially because people are sooo into Analysis that they forget that not everything has to be canon for you to enjoy it. steve is his stans' special little guy, of course they're gonna take the three things we hear about his family and make it big plot points in the fics they write, you're allowed to do that also. if you want to write a fic where ted is this lonnie type figure then by all means do it because he will never be in the show, just like steve's relationship with his parents will never be explored. that's something steve stans are well aware of, hence the fics and the frustration at the fact that despite his massive screentime steve's feelings don't seem to matter that much and that he doesn't get to process any of his trauma on screen. mike has family dynamics that are important enough to make it into the episodes. mike is given emotional depth. mike is a character that gets to be traumatized on screen. if you want to add to his trauma by making his parents worse than they are, that's what ao3 is for. if they wanted mike's parents to be abusive beyond redemption, they would've made them abusive beyond redemption.

[shitty-check-please-aus]

my mom never had wisdom teeth so my greatest source of knowledge for various adult life scenarios just has no experience with something I’m dealing with and I’m stuck with google of all things

[jvzebel-x]

🦋

[thotsfortherapy]

hmmmm... ran into my ex today

[jacksintention]

I really can't stand Gil

[reflectionsofgalaxies]

.

[radiotorn]

The perusing thru photo gallery strikes again. ! Bad

[jewishvitya]

A pro-Palestine Jew on tiktok asked those of us who were raised pro-Israel, what got us to change our minds on Palestine. I made a video to answer (with my voice, not my face), and a few people watched it and found some value in it. I'm putting this here too. I communicate through text better than voice.

So I feel repetitive for saying this at this point, but I grew up in the West Bank settlements. I wrote this post to give an example of the extent to which Palestinians are dehumanized there.

Where I live now, I meet Palestinians in day to day life. Israeli Arab citizens living their lives. In the West Bank, it was nothing like that. Over there, I only saw them through the electric fence, and the hostility between us and Palestinians was tangible.

When you're a child being brought into the situation, you don't experience the context, you don't experience the history, you don't know why they're hostile to you. You just feel "these people hate me, they don't want me to exist." And that bubble was my reality. So when I was taught in school that everything we did was in self defense, that our military is special and uniquely ethical because it's the only defensive military in the world - that made sense to me. It slotted neatly into the reality I knew.

One of the first things to burst the bubble for me was when I spoke to an old Israeli man and he was talking about his trauma from battle. I don't remember what he said, but it hit me wrong. It conflicted with the history as I understood it. So I was a bit desperate to make it make sense again, and I said, "But everything we did was in self defense, right?"

He kinda looked at me, couldn't understand at all why I was upset, and he went, "We destroyed whole villages. Of course we did. It was war, that's what you do."

And that casual "of course" stuck with me. I had to look into it more.

I couldn't look at more accurate history, and not at accounts by Palestinians, I was too primed against these sources to trust them. The community I grew up in had an anti-intellectual element to it where scholars weren't trusted about things like this.

So what really solidified this for me, was seeing Palestinian culture.

Because part of the story that Israel tells us to justify everything, is that Palestinians are not a distinct group of people, they're just Arabs. They belong to the nations around us. They insist on being here because they want to deny us a homeland. The Palestinian identity exists to hurt us. This, because the idea of displacing them and taking over their lands doesn't sound like stealing, if this was never theirs and they're only pretending because they want to deprive us.

But then foods, dances, clothing, embroidery, the Palestinian dialect. These things are history. They don't pop into existence just because you hate Jews and they're trying to move here. How gorgeous is the Palestinian thobe? How stunning is tatreez in general? And when I saw specific patterns belonging to different regions of Palestine?

All of these painted for me a rich shared life of a group of people, and countered the narrative that the Palestininian identity was fabricated to hurt us. It taught me that, whatever we call them, whatever they call themselves, they have a history in this land, they have a right to it, they have a connection to it that we can't override with our own.

I started having conversations with leftist friends. Confronting the fact that the borders of the occupied territories are arbitrary and every Israeli city was taken from them. In one of those conversations, I was encouraged to rethink how I imagine peace.

This also goes back to schooling. Because they drilled into us, we're the ones who want peace, they're the ones who keep fighting, they're just so dedicated to death and killing and they won't leave us alone.

In high school, we had a stadium event with a speaker who was telling us about a person who defected from Hamas, converted to Christianity and became a Shin Bet agent. Pretty sure you can read this in the book "Son of Hamas." A lot of my friends read the book, I didn't read it, I only know what I was told in that lecture. I guess they couldn't risk us missing out on the indoctrination if we chose not to read it.

One of the things they told us was how he thought, we've been fighting with them for so long, Israelis must have a culture around the glorification of violence. And he looked for that in music. He looked for songs about war. And for a while he just couldn't find any, but when he did, he translated it more fully, and he found out the song was about an end to wars. And this, according to the story as I was told it, was one of the things that convinced him. If you know know the current trending Israeli "war anthem," you know this flimsy reasoning doesn't work.

Back then, my friend encouraged me to think more critically about how we as Israelis envision peace, as the absence of resistance. And how self-centered it is. They can be suffering under our occupation, but as long as it doesn't reach us, that's called peace. So of course we want it and they don't.

Unless we're willing to work to change the situation entirely, our calls for peace are just "please stop fighting back against the harm we cause you."

In this video, Shlomo Yitzchak shares how he changed his mind. His story is much more interesting than mine, and he's much more eloquent telling it. He mentions how he was taught to fear Palestinians. An automatic thought, "If I go with you, you'll kill me." I was taught this too. I was taught that, if I'm in a taxi, I should be looking at the driver's name. And if that name is Arab, I should watch the road and the route he's taking, to be prepared in case he wants to take me somewhere to kill me. Just a random person trying to work. For years it stayed a habit, I'd automatically look at the driver's name. Even after knowing that I want to align myself with liberation, justice, and equality. It was a process of unlearning.

On October, not long after the current escalation of violence, I had to take a taxi again. A Jewish driver stopped and told me he'll take me, "so an Arab doesn't get you." Israeli Jews are so comfortable saying things like this to each other. My neighbors discussed a Palestinian employee, with one saying "We should tell him not to come anymore, that we want to hire a Jew." The second answered, "No, he'll say it's discrimination," like it would be so ridiculous of him. And the first just shrugged, "So we don't have to tell him why." They didn't go through with it, but they were so casual about this conversation.

In the Torah, we're told to treat those who are foreign to us well, because we know what it's like to be the foreigner. Fighting back against oppression is the natural human thing to do. We know it because we lived it. And as soon as I looked at things from this angle, it wasn't really a choice of what to support.

[kethabali]

i continue to be surprised how our body, minds, and universe align perfectly sometimes and we get just what we needed even if we don't realize we needed it

[nicoliine]

The day you noticed Lucifer was using his wings to court you.

☆彡 In birds, there is a great variety of nuptial displays at the time of courtship, especially in species that have melodious songs or show very striking plumage.

Little did you know, this would include angels or the king of hell himself.

 

☆ English isn't my first language. Sorry in advance.

☆ The reader is g/n; no pronouns or y/n are used.

 

You were always fond of birds, and you dedicated much of your life to helping preserve endangered species. You studied them, spent countless hours learning about the hundreds of species, a lot of diets and their behaviors.

This didn’t seem to stop once you found yourself in Hell; in fact, once you discovered there were a bunch of sinners with bird-like features, you just seemed content to be there.

When you arrived at the Hazbin hotel, you claimed one of the spare rooms as your personal studio, and after what you have called "the toughest battle in your life," you convinced Alastor to let you have a camera "as long as you never get that frivolous technology box near me."

Husk had to ask you not so politely to stop when you first met. Before you could even take his hand, you had started to ask questions about their wings; sometimes you even wrote on an oh-so-worn notebook of yours; it became a common topic of discussion between the two of you. When you forget he has work to do and start to take multiple pictures of his wings and even try to take one of his wings when he is not looking, Angel starts to think that your bartender friend is about to lose it, and you will end with a scratch or two.

 

Besides that, one could say that your presence in the hotel was appreciated; you could be found watching some funny shows on TV with Angel and never saying no to Vaggie when she asked for a favor. Soon, you started to feel part of the hotel, and the rest of the staff agreed with that.

 ☆◦ •◦☆

Lucifer was nothing like any man you had met in life or hell; he was, to put it simply, an awkward guy, always so silly yet so elegant. He had managed to get you longing for his presence more often than you would like to admit.

You are not sure how you and Lucifer became friends, but having a shared interest in ducks seemed to help. You gave him all kinds of facts about them, and he would step by your room every so often to show you the new rubber duck he was working on. Not that you're complaining, but one of his ducks set your courtains on fire on an occasion.

Charlie says that she is proud of his "social advances,” as she used to call your interactions. Seeing him out of his office more often and having an actual conversation with someone seems to make the princess happy and less worried about her father, and if that someone turns out to be you, it is so much better!

  ☆◦ •◦☆

The first time you noticed this weird behavior of his was the day you two met. You couldn’t help but mention, after his bickering with Alastor over who was Charlie’s father figure, that you found his wings precious. Lucifer, being the prideful man he is, wasted no time on extending his wings only for your delight, a smirk on his face as he saw your eyes wide admiring that part of him; they were so magnificent, you could swear they were shining in the light of the room, and you'd die to see if the feathers were as soft as they seemed.

 

Just a simple touch, please.

 

Before returning his wings to their place, there was a flutter of his wings, so slow that there was no way someone could notice.

But you weren't just someone; you knew it. What a coincidence! You could recap an article about some birds courtship.

The second time you saw it, you were in your room minding your own business. He came to you with a smile, but your eyes were looking past him, his wings on full display as he greeted you. There, his wings started flutter again, now lasting more than the last time. Now there is no way it was just a coincidence. “My eyes are up here, darling,” he said, that smirk on his face turning into a pout as you were not paying him enough attention. You just shake your head, focus on the man before you, returning your full attention to him, and the pout on his lips dissapears immediately as your eyes are on him.

 

  ☆◦ •◦☆

You are getting crazy; every time you get a glimpse of him, you find his wings moving in an oh-so-familiar way that you could swear it was a courtship dance, every time bolder than before.

That is when you decided to confront him, getting just a chuckle from him. It made you think maybe it was just your imagination, and you finally lost your mind.

 

While sitting on the hotel balcony, Lucifer was telling you one of his ideas for this new rubber duck. He said it would be the best one he would work on so far, even though you doubted that. Then you stopped listening, your eyes fixated on his wings. Every time he looked at you, they would flutter not so subtly, distracting you from everything around you. Your head rested on your palm, almost feeling bad for not listening to his rambling.

 

"Luci, you're courting me." It was supposed to be a question, but by the way the king of hell stopped his rambling and, looking at you with wide eyes, you found that maybe it was not.

"And what would make you think that?" He said mocking you, he also rested his head in one of their hands.

 

"Your wings, the way you move them," you pointed to his wings; they stopped his movements when you mentioned it; he just chuckled, then started to laugh. Was he laughing at you? It made you want to hide yourself from him; was it your imagination? No way.

 

"So you finally notice," he then said. Once his laugh was gone, he adjusted himself on his seat. Now, with both of his hands holding his face and looking at you with a smirk, his wings started to flutter once more. "I thought it would take you less time, may I be honest"

 

"Actually, I noticed it long ago; I thought it was just my—" You felt the air leaving your lungs once he got on his feet and moved closer to you. "...Just my imagination." You were not strange to his proximity, but this time he just looked so imponent, wings on full display and fluttering around. Now it was definitely a courtship dance, and you were on the receiving end.

 

"Now, what do you think?" He hovered over you who still sitting, a hand resting on the back of your seat, taking one of your hands on his and kissing your knuckles. The kiss lasted longer than you thought was the average time for one, and even then he didn’t let go of your hand. "Was my dance enough to impress you, darling?" Now, looking into his eyes, you could only see adoration, awaiting your response.

 

You couldn't speak; you can't imagine the king of hell pulling up something like this for you.

 

"My dear, please talk to me," he pleaded, a sigh leaving his lips as he hid his face in the crook of your neck. You could feel his warm breath in your skin, burning like hellfire.

 

"It was," you said, Lucifer now turning his face to look at you. You took his face in your hands and moved him closer, he gave you an inquisitive look but with no intention to move from your touch. "I should have mentioned it earlier; it was quite impressive." You smiled, and he did the same.

 

Now, how long you two kissed, you also don't remember; what you remember, however, is how he held you against him as if you were just about to disappear right then, and that when you finally got to touch his wings, you were proved wrong.

His feathers were much softer than you have imagined.

This idea came to me yesterday when my dad showed me a reel of a lady bird who epically ignored the male who was dancing to her, I felt so bad and immediately thought about Lucifer.

Likes and reblogs are appreciated 💞